CEDAH CHESTS 

RALPH ' F ' WINDOES 





ClassX'iiljL 
Book WB 



IXEOSID 



CGEmiGm HEBoam 




RED CEDAR, AUSTIN, TEXAS 



^ 



CEDAR CHESTS 



HOW TO MAKE THEM 



RALPH F. WINDOES 

Formerly Instructor of Manual Training, Davenport High School, 
Davenport, Iowa. Author of "Shop Sketching," "Architectural 
Drawing for Secondary Schools," "Drafting Instru- 
ments and How to Use Them," Etc. 




SECOND EDITION — ENLARGED. 



MILWAUKEE 
THE BRUCE PUBLISHING COMPANY 



^^^^ 






Copyright 1918-1921 
by 
The Bruce Publishing Company v 



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©CU630198 ^ 



NOV -7 192! 



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PREFACE 



BELIEVING that the popiilarit}' of the cedar chest 
as a cabinet making project has reached con- 
siderable proportions, the author has endeavored 
to embody mider one cover all information necessary 
to the design and construction of a variety of chests. 
In addition to this mechanical aspect of the work, he 
has presented some information of educational char- 
acter on red cedar as a wood, and something of inter- 
est concerning the development of the chest. 

As information of this character has been lack- 
ing in the past, he hopes that the book will meet 
with the approval of teachers who will use it in their 
work. 

Acknowledgment is due to the Forest Service for 
the use of the illustrations in Chapter I, to two of 
the author's students, Otto J. Teegen and James A. 
Kelly, for the great assistance rendered by them in 
the preparation of the drawings, and to the Metro- 
politan ^Museum of Art, New York City, for per- 
mission to reproduce photographs of historic chests 
in its collections. 

R. F. W. 



CONTENTS 

CJIAFTER PAGE 

I Red Cedar 9 

11 Cedar Chests 15 

III How to Build a Simple Chest 17 

IV Cedar Chest Designs...- 31 

V The Finishing of Cedar 78 

VI Copi)er Trimmings 82 

VH Mattino" Boxes 90 




This chest came over on the "Mayflower. 



CHAPTER I 

Red Cedar 

The botanical name for red cedar suitable for chest construction is 
Junipenis virginiana, or Southern Juniper, as it is familiarly known. Com- 
mercially, it is sold as "Tennessee Ked Cedar." There are other cedar 
woods but none of them should be used in chests if the great advantages 
of cedar are to be derived, and especially should the "western cedar" 
be avoided, as it is very common and eas}^ to purchase, yet it has no 
value as a wood for cedar chest construction. Southern Juniper may 
aptly be called the "wood imperishable," since, under ordinary condi- 
tions, it will never deca3\ Placed as shingles with copper nails, there is 
little doubt but that it will last for ages, or until the attacks of rain 
and wind have weathered it away. Until recent years one of its greatest 
uses has been in telegraph poles, fence posts, greenhouses, etc., w^here con- 
stant contact with damp earth would soon rot away a less durable wood. 
Now, since the rapid rise in the A^alue of red cedar has almost prohibited 
its use, cypress, "the wood eternal," has largely succeeded it. 

LOG HOUSES OF RED CEDAR 

When America was settled, one of its most valued natural resources 
was found in the red cedar belt of the South. Settlers migrating to this 
region found the straight cedar logs perfectly suited to cabin construction, 
consequently the best trees were felled and utilized in the building of 
America's first homes. As times went on and the settlers prospered, the 
logs were taken from the houses, and assembled into barns, frame con- 
struction taking their place in the homes. Today, these old logs, perfectly 
preserved, are purchased by lumber men, as some of the most select red 
cedar lumber is manufactured from them. A great many of these old logs 
have been cut up into lead pencil slabs, as cedar is the best wood that has 
ever been found for lead pencils. It is straight grained and easily cut with 
a knife the two necessary characteristics. Another source for pencil 
supply has been found in the rail fences, so common in the South, 
practically all of which were constructed of split cedar rails. This wood 
is so highly prized by pencil makers that many fences have been bought 
up at such prices that modern fences have taken their places, leaving a 
comfortable profit for the owner. 

AVHERE RED CEDAR ABOUNDS 

The geographical range of red cedar is very wide and hard to define. 
Roughly speaking, it can be found westward to Minnesota, south to 



10 CEDAR CHESTS 

Florida, and southwest through Texas. The finest forests were originally 
found in middle Tennessee, in Davidson, Rutherford, Bedford, Marshall, 
and Warren Counties, with a considerable quantit}^ in the breaks of the 
Cumberland plateau and in Eastern Tennessee. There was considerable 




Fig. 1. Red Cedar and Loblolly Pine ; Occasional Scrub Pine in the 
Background. Southern Maryland 

red cedar also in Southern Virginia, North Alabama and in Georgia, while 
some is found in Arkansas in the Ozark Mountains. 

These belts are still the most reliable source of supply, some of them 
having been cut over a great many times. Second growth, although it is 
stunted, more knottj^, and contains more sapwood than first growth, 
finds a market in fence posts and a yerj little in furniture construction. 



J 



RED CEDAR 



11 



DEPLETION OF THE CEDAR SUPPLY 



The supply of Southern Juniper in this country, both first and second 
growth, is rapidly being depleted. There is no reason why this condition 
should exist. The early settlers, anxious to clear their lands, destroyed it 
ruthlessly, it is true, yet it 
lends itself so readily to re- 
forestation that it is difficult 
to surmise why steps to main- 
tain its constant supply were 
not taken long ago. About 
two hundred years ago, a 
S w e di s h naturalist, Peter 
Kalm, after traveling over 
the settled portion of the 
country, wrote at some length 
upon the splendid qualities of 
red cedar, and prophesied its 
early extinction unless steps 
were taken to replenish the 
supply. 

In Poor Richard's Alma- 
nac for 1749, Benjamin 
Franklin urged the people to 
plant and foster the growth 
of red cedar. He was of the opinion that the rapid clearing of the land, 
the constant need of wood for fuel would soon destroy the slow-growing 
oaks and other hardwoods, and that '4t would be to our advantage to 
endeavor to raise some other kind of timber that will grow faster or come 
sooner. 

^'The red cedar (a species of juniper) I take to be the most profitable 
tree for fencing and several other uses that we can raise in our country, 
considering how easily it may be raised from seeds, its readiness to grow 
on most kinds of soil, its quick growth, the profits it will afford while it is 
arriving at maturity, and the long duration of the wood when grown to 
a proper size for the materials we want for our several occasions in 
husbandry and building. I know of no other tree that will grow so well on 
such different soils as this will, for upon our sandy beaches, which are 
nothing but beds of sand, they grow as thick as possible, from whence 
many thousand posts for fencing are brought into Pennsylvania and York 
governments, and I have seen, in a great many swamps upon a branch of 




Fig. 



Red Cedar. Longitudinal Section, 
Magnified 76 times. 



12 



CEDAR CHESTS 



the Susquehannah, great trees growing, near 18 inches diameter, 70 feet 
high, and very straight. And the inhabitants near the mountains, upon 
Hudson Bay, make a great use of them for making large hovels or 
barracks to put their corn in before it is threshed. They will grow well 




Fig. 3 Fifty Year Old Cedar, Job"s Swamp, Ocean County, New Jersey 

in high gravely or clay soil, in rich or poor, or even upon a rock, if there 
be but half a foot of land or earth upon it. It is much to be valued for 
its quick growth from seed, the little sap and much durable heart, 
which is acquired sooner than any tree that we can raise on common land. 
Indeed, the mulberry and locust are of quick growth in very rich land, 
but not upon poor." 



RED CEDAR 



13 



That the predictions of Kalm and Franklin have been substantiated 
is a well known fact since the cedar of commercial size grown in the 
Eastern and New England States — of Avhich they spoke — has long since 







«A--«4*fc.>/*.. 



Fig. 4. Mature Cedar Brake Along Road. No Underbrush, but the Young 
Cedar Seedlings Fill all Gaps. Marble Falls, Burnet County, Texas 

been exhausted. Neither knew of the extensive cedar growths in the South 
and West, yet the original growth of these regions is very near exhaustion. 
Luckily, our efficient Forest Service is at this time doing everything 
in its power to encourage reforestation of the cedar tracts, and the future 
of the red cedar tree looks more promising than the present. 



14 



CEDAR CHESTS 



CHARACTERISTICS OF RED CEDAR 



As has been intimated, red cedar is a very durable wood. It is also 
light, straight grained, does not warp readily, will dry out rapidly, takes 
a beautiful finish, and has a most pleasant aroma, but one which is 



moth and insect repelling, 
shun the pennyroyal herb. 



Moths shun the red cedar, as other insects 



These favorable characteristics all combine to make red cedar the 
ideal wood for chest construction. Chests must be light, yet strong; good 
to look upon when finished ; of such flat stock that the finish on one side 
alone will not cause the wood to warp ; and they must be moth proof. 
Southern Juniper furnishes all of these desirable points, and in addition 
its pleasant aroma permits the immediate wearing of apparel taken from 
the cedar chest without airing, as must be done with garments protected 
by moth balls. 




Small Carved Wood Chest of Venetian Make (Sixteenth Century) 



CHAPTER II 

Cedar Chests 

The chest, or coffer, has had a varied existence. Its present popularitj^ 
was preceded by a period in which new chests were a rarity. Previous to 
this time — taking us back to our great-grandniothers' days — the chest, 
in the form of the ''dower chest," was the proud possession of every girl 
with vision. Why its popularity suffered is hard to surmise, unless it was 
relegated as being ''old-fashioned," and, therefore, obsolete. In recent 
years those in society who make things fashionable have restored it to its 
place of usefulness and beauty, and today there are very few girls whose 
possessions do not include a chest. 

OLD ITALIAN CHESTS 

Long before the era of convenient furniture, chests, or coffers, were 
the one article of utility in every home. In them was kept clothing; val- 
uables of every description, and even food-stuffs. 

In early days, these chests were crude, ugly aft'airs, made for utility 
alone. Later, especiallj' in Italy, they developed into articles of beauty. 

This development reached its height at the time of the Renaissance 
when the greatest artists of the day took up the decorating of them. Carv- 
ing and painting, furnished to the wealthy at great expense, produced 
articles whose magnificence is astounding. These beautiful chests were 
usually presented to Italian "brides-to-be," who kept their dowery of rich 
velvets, magnificent brocade, and other treasures of maidenhood safely 
under their covers. 

With the ever-changing ideas of humanity, the beautiful chest lost 
its popularity, and some wonderful specimens of Renaissance artistry were 
relegated to the scrap heap. A few were saved — perhaps for the associa- 
tions they suggested— eventually to be prized and handed down from 
generation tf) generation, preserved in the national museums, or homes 
where wealth permits the collection of old furniture. 

NEW ENGLAND CHESTS 

In quaint old New England, the seventeenth century bride considered 
her future happiness to depend largely upon the contents of her "dower 
chest." Every maid had one — sometimes more than one — in which she 
assiduously collected her trousseau — her beautiful handmade linens, her 

15 



16 CEDAR CHESTS 

gorgeous silks and satins, preparatory to the day of her ascension into 
home-making. 

Nothing, perhaps, in her interesting life could she recall, in later days, 
as vividly as her old dower chest, and nothing, perhaps, did she prize as 
highly. 

In those days few chests w^ere made of cedar— oak being the wood pre- 
ferred. Using the chests, as did the old-time bride, merely to assemble her 
trousseau, its storage properties were not considered as they are today. 

PRESENT DAY DEVELOPMENT 

Why the chest lost its popularity is hard to determine. It may be 
that moths, developing in the oak chest and devouring its contents, were a 
determining factor, or it may be simply a passing whim of society that 
relegated the chest. When red cedar came into favor as the universal 
chest material, repelling moths and other insects, and permitting of most 
beautiful finishes, the chest returned to its own. 

The present-day mother— the far-sighted mother — is instilling the 
dower chest notion into the hearts of her children as did her great-grand- 
mother years ago. It is not a sentimental whim which prompts her to do 
this, it is strictly a utilitarian one. 

Girls, the majority at least, will some day marry. If they have a chest 
they will sew and save to fill it, if not, they may come to the altar unpre- 
pared, or purchase at one time those things that their own labor and years 
of association should endear to them. Even if they never marry, bachelor 
girls must clothe themselves, and some even fit up small apartments in 
which to live, hence this saving will not be a loss. 

Cedar chests may be purchased ready made, of course, but their 
rather high price prohibits their possession by some. Manual training 
students or home craftsmen will find in the chest a most attractive project 
of construction, and one made by a boy as a present to an older sister will 
give the chest, in her sight, an added charm. 



CHAPTER III 

How to Build a Simple Chest 

It is naturally assumed that the builder of a cedar chest knows the 
fundamental tool processes, as a project of this kind is no task for an abso- 
lute beginner to attempt, hence but little attention will be paid to processes 
that would ordinarily be known by the graduate of a grammar school. 

THE MILL BILL 

Chest Design Number 1, illustrated in perspective in Fig. 5, and whose 
working drawing appears in Fig. 6, is of very simple construction. 

Its stock can be purchased glued-up and sandpapered, coming to the 
builder as in Fig. 1, almost ready to assemble, or the boards can be secured 
surfaced on tw^o sides, to be jointed, doweled, and finished by hand. Both 
methods wdll be considered in this chapter. 

The stock list, if the wood is to be glued-up and sandpapered at the 
mill, should comprise the following pieces : 

2 pes. red cedar for sides f x 18i-'' x 38" 
pes. red cedar for ends -J" x 18V' x 19" 
pes. red cedar for top and bottom J" x 20^" x 40" 
pc. red cedar for feet f " x 2^" x 60" 
pes. red cedar for inside strips 3" x |" x 36" 
pes. red cedar for inside corners If" x IJ" x 18" 



1 pc. red cedar for handles IV' x 2" x 121' 




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HOW TO BUILD A SIMPLE CHEST 19 

An exact checking of the mill bill and the working drawing will 
show that an allowance has been made in some instances that will need to 
be cut to fit by the builder. For example, the sides are J" wider and 
about 2'' longer than the working drawing calls for. This allowance has 
been made so that the craftsman can secure exact dimensions with per- 
fectly^ square ends. 




Fig. 7 

As surfaced and machine sanded stock is specified, all that remains 
for the builder to do is to square up the ends and edges, cut the feet and 
handles, and assemble. 

SIDES AND ENDS 

Plane one edge of each side and end perfectly straight and square with 
the surfaces. Check these for ^Svorking edges." Measure over 18" and 
with a straight-edge, mark the width on each. Plane carefully to this 
line, keeping the edges square across. 

With the steel square, holding the blade against the working edges in 
each case, square lines across one end of each piece about f". 

Saw about ^" outside of these lines and plane down to them, testing 
constantly with the try-square across the end grain and the steel square, 
the blade of which is held against the working edge. When perfectly 



20 CEDAR CHESTS 

straight and square, measure down 36" on the sides and 16^" on the 
ends, square lines across, and repeat the sawing and planing. 

TOP AND BOTTO:\r 

The top and bottom pieces are squared up in exactly the same way, 
but they finish 20'' x 38''. The upper surfaces of each have their edges and 
ends carefully rounded, using a radius of 5". This is accomplished by 
planing- and sandpapering with a rather coarse and then a fine sandpaper. 

These parts are now ready to assemble, but this wdll not be discussed 
until the hand finishing of stock is described. 

JOIXTIXG AND GLUING WIDE STOCK 

If stock that has been machine surfaced on two sides is purchased for 
the chest, the builder doing his own gluing, the following stock will be 
needed : 

30 board feet red cedar, surfaced two sides to f" 

1 pc. red cedar for inside corners If" x If" x 72" 

1 pc. red cedar for handles IV' x 2" x 12^" 

SAWING UP THE STOCK 

The stock will come in pieces from 4" to 10" wide and from 8 ft. to 
12 ft. long. Place the strips side hy side on the saw horses, and work com- 
binations whereby the greatest saving of stock will be affected. There 
should be about 2" allowed for jointing and squaring, making; the sides 
and ends, rough, 20", and the top and bottom 22". Saw off the lengths, 





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Fig. 

allowing about 2'' over-length in each ease. Save the sawed-off ends, if 
they are 7'' or over in length, for the feet. 

JOINTING 
Mark each piece ''Side A," Side B/' ''End A," "End B," etc., so 
that they will not become mixed. Begin with one side, putting all other 
stock away. 

Determine by a plane stroke or two which way the grain rtins in each 
piece, and mark this direction b}^ means of arroAvs, as in Fig. 8. Also, 
number the adjacent edges. 

Assuming the position of Fig. 9, carefully run the jointer plane over 
all edges that come together. Hold it down on the knob, when starting a 
cut, and hard on the handle when finishing. Keep the sides of the plane 
parallel to the sides of the board being planed. 

A few strokes should make the edge perfectlj^ straight with the grain, 
when it should be tested with the try-square to be certain that it is square 
with the surfaces. 



22 



CEDAR CHESTS 



When it is straight as to length and square across, lay it aside and 
place the edge it is to join within the vise. Do exactly the same with this 
edge, and test it by placing the edge formerly planed down on top of it, 
Fig. 10. Sighting toward the light will show whether or not exact work 
has been accomplished. High spots will be easily detected and planed off. 

If there is a long, thin opening in the center of the two edges, it may be 
left, as the clamps will close it and when the wood dries out, end-opening 



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Fig. 10 

of joints will be prevented. But this opening must not be more than ^/64" 
as the clamps might not pull it down and hold it if it were greater. 

Repeat with the other edges, and when all boards for one side have 
been joined, place them into position and test with the steel square, as in 
Fig. 11. If they do not combine to form a straight surface, those edges 
that are not square across grain must be planed. 



DOWELING 

Although stock jointed and glued up at the mill is not doweled, stock 
hand jointed must be. Use f" dowel pins, placed about 8'' apart, the end 
pins starting about 3'' from the ends of the boards. 



HOW TO BUILD A SIMPLE CHEST 



23 




Fig. 11 

To lay out the dowel holes, place the edges that are to be joined back 
to back in the vise. "With a sharp knife and the try-square, square lines 
across the grain. Mark intersecting lines with the grain with the marking 
gauge, running the spur in the exact center of the edges. 

At the intersections of the gauge and knife lines, bore f '' holes about 
1" deep in both boards. Fig. 12. Slightly countersink these holes. 

Cut the dowel pins about If" long, point their ends a little, and cut 
a shallow groove along the edge to allow the surplus glue to escape, and 
thus prevent splitting the boards. 

GLUING 

Place the boards in position on the saw horses near the glue pot. Have 
the glue heated — if hot glue is used — and all clamps in position at hand. 
Remember that you can not stop to look for anything when the hot glue is 
once applied. 

Pieces this narrow wdll have little tendency to buckle, especially if 
the bar clamps are put on opposite sides, but it may be wise to have four 
hand screws ready with battens cut the correct length in case they do. 



24 



CEDAR CHE8TS 



Dip the dowels, one at a time, in the glue and drive in place along one 
edge of each board. Quickly tip this edge and its mate up, and apply a 
thin layer of glue to each. Drop them into position and drive them to- 
gether. Repeat with the other edges, and place the bar clamps in position, 
as Fig. 13 illustrates. Tighten the clamps until all the surplus glue is 
squeezed out, and apply the hand screws if the boards show any tendency 
to buckle. 




»i 



Fie-. 12 



It is well to w^arm the boards slightly if hot glue is used. 

In case cold glue is used, allow it to stand ten or fifteen minutes be- 
fore applying the clamps. It will stick better. 

SURFACING 

After all six wide pieces have been glued up in the above manner and 
allowed to dry over night, the clamps are removed and the surfaces 
smoothed up. 

Scrape off as much glue that has dried on the surfaces as possible, as 
hard glue will dull the plane bit. 

Begin with a Yery sharp jack plane, and plane the surface down 
smooth. Cross-planing is allowable on red cedar on account of the knots, 
but be very careful not to rip up deep grooves. When planed as nearly 



^o^y to build a simple chest 



25 



flat as possible, scrape with a sharp cabinet scraper. This should not be 
held in the hand, but should be used in a scraper plane. Scraping should 
remove all rough spots from the wood. 

Finally, sandpaper the entire surface with Xo. li sandpaper, and 
finish with Xo. 0. 

SQUARIXG UP 

Cut these pieces to dimensions and square them up as has already 
been described for the mill-glued stock. Pieces that have been ripped 
from the edo-es should be saved. 




Fig. 13 

ASSEMBLIXG 

Fig. 14 illustrates various joints used in chest construction. With the 
simple design taken as our model in this chapter, we will employ the plain 
butt, nailing the pieces together with 8d finishing nails. 

It will be noticed from the working drawing that the sides are nailed 
onto the ends. To prevent splitting, a number of small holes should first 
be drilled through the sides. Apply glue to the ends before driving the 
nails in place. 

When the sides and ends have been assembled, cut a stick the length 



JOINTS U6LD IN CHEa5T 
CON6TR.UCTION 



PLAIN- bUTT DADO AND R^AbbLT 





P^AbbLT 



DOVL-TAIL 





Fig. 14 



EO^y TO BUILD A SIMPLE CHEST 



27 
If 



of one diagonal of the box^ and use this to test on the other diagonal 
the box is square, both diagonals will be the same length. 

Place the bottom side up and screw the bottom to the sides and ends. 
Use IJ" No. 8 flat head screws well countersunk. Bore the holes through 
the bottom rather large to allow for any expansion or contraction, and 
use about twelve scrcAvs. 

TRIANGULAR CORNER STRIPS 
In the inside corners of the box, triangular strips should be securely 
glued. They are made hj ripping on the diagonal of the If" square pieces, 
and should be made 17" long. Fig. 15. They help to strengthen the chest. 




Fig. 15 

FEET 

The working drawing gives a detail of the feet. Two pieces 7" long 
and 2^" wide are cut to shape as shown. Their adjoining ends are mitered, 
glued, and nailed. On the inside corner a block If" square is glued to help 
strengthen the joint and to carry the caster. These feet are screwed onto 
the bottom piece. 

HANDLES 

Handles may be purchased, but they are so easily made that they are 
not worth the expense involved. The working drawing gives a detail of a 
good shape, but this is only a suggestion. The inside is gouged out for a 
linger hold. 

The handles are attached with flat head screws from the inside of 
the box, and glued. 



MLTHOD6 OF MAILING THL 
CHL6T DUvST-Pl^OOF 




Fig. 16 



7/0 ir TO BUILD A ;<IMFLE CHEST 



29 



THE COVER 

A good chest is dust-proof. There are three ways of rendering- it so 
illustrated in Fig-. 16. The first has false edges glued around the under 
edges of the top, this false edge extending down over the sides and ends. 
The third has a strip fastened to the top inside of the edges and ends, while 
the second is a combination of the other two. 

In our example, the third method will be employed. 

Cut two strips 34^" long from stock f" square, and two pieces 15" 
long. Screw and glue them in place. 

HINGING 

Two plain butt hinges 24" long with a f" leaf will do on this chest. 
They may be let into both the top and the upper edge of the side piece, or 
entirely into the edge. Another method often vised in schools is that of 
placing the hinges on the outside of the back and the under side of the top. 
This is the most simple as it involves no chiseling, and, since the chest 
is usually placed against a wall, does not look bad, especially if an orna- 
mental hinge is used. 

Two chains or desk supports should be used to prevent the lid from 
swinging way back and straining the hinges. See Fig. 52, Chapter VII. 

FINISHING 

Directions for finishing and preparing the wood for finish are given in 
Chapter V. Of course the nails should be Avell set and filled as explained. 




A French Chest of the Late XV Ceuturv i Gothic Period 



CHAPTER IV 

Cedar Chest Designs 

Variety in design is so essential in cabinet making classes that a num- 
ber of different styles of chests are presented in this chapter. Although a 
great many teachers follow the practice of giving the student a working 
drawing to follow, it is recommended that the designs herewith presented 
be used only as models— that from them each boy will combine, and add 
his own ideas to evolve what may be called "an original design." Only 
by so doing will the student derive his greatest benefit from the work. 

DESIGN NO. 2 
In Fig. 18 is presented a perspective of the chest whose working draw- 
ing is given in Fig. 17. This chest is very similar to Design No. 1 described 
in the previous chapter. Its dimensions are practically the same, but in 
this case, the ends are fastened to the sides, and the end grain— appearing 
on the front — is covered by a curved piece of cedar If" wide. The feet 
also differ as the detail shows. 




Fig. 18 



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CEDAR CHEST DESIGNS 



33 




Fig. 20 



DESIGN NO. 3 



In this design we have a larger chest than the previous, but whose 
construction is the same. The end grain, appearing on the front, is covered 
with strips of copper. These may be put on as corners extending over the 
ends also, or merely as plates on the front, as Fig. 20 illustrates. The feet 
are detailed with Design No. 1. 



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CEDAB CHEST DESIGNS 



35 




Fig. 22 

DESIGN NO. 4 

One of the most popular chest designs is illustrated in Fig. 21. In this, 
the edges are rounded, giving it an easy, graceful appearance. It requires 
careful, accurate work, as the joints can not be covered with strips or 
copper as with the previous styles. 









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37 




Fig. 24 



DESIGN NO. 5 

In Fig. 24 is shown a chest whose design permits it to be used as a 
window seat when covered with a cushion. Its appearance is very at- 
tractive as it has heavy, massive ends, giving it an air of solidity. The 
ends can be built up flush, as the drawing, Fig. 23, illustrates, or paneled. 
A f " strip is glued to the front edge of the top, making it appear to be as 
thick as the ends. The drawings illustrate copper plates on the front, 
but, if good work is accomplished, these may well be omitted. 









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CEDAR CHEST DESIGNS 



39 




Fig. 26 



DESIGN NO. 6 

A paneled chest, Figs. 25 and 26, looks well when accurate work has 
been done. It, of course, means a great deal of mortising and routing, but, 
where power machines are available, does not consume a great amount of 
time. A chest built up as previously described with i" strips glued on will 
give the same effect. A study of both drawings will make the construction 
clear to the average student. 



CEDAR CHEST DESIGNS 



41 




Fig. 28 



DESIGN NO. 7. 
Design No. 7, Figs. 27 and 28, is a rather odd design from the fact 
that it contains a drawer. It is built in the usual manner, but has two 
bottoms and an opening in the front for the drawer to slide into. It should 
be built of cedar throughout, but a slight saving can be effected if the 
lower bottom is of a cheaper wood or even a frame. 





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Fig. 30 



DESIGN NO. 8 

This chest involves a little turning, but otherwise its construction is 
simple. A f " piece is set into the upright end pieces of stock IJ" x If", 
and another piece mortised in between them at the top. This latter piece 
lias had a handle turned in its center, and two round tenons on its ends. 
These tenons are glued into holes bored in the uprights. Fig. 29 makes 
this construction clear. Aside from this, the construction is very similar 
to Design No. 5. 

DESIGN NO. 9 

At first glance, Fig. 32 presents a chest of difficult design, yet a care- 
ful understanding of its construction will show it to be quite simple. The 
box is built up with plain butt ends, and four corner legs are cut out ac- 
cording to the detail on Fig. 31. A right angle groove is cut into the center 
of each leg, and this fits over the corners of the chest. Glue and long 
screw^s from the inside of the box hold them in place, as detailed in Fig. 33. 
The little brackets shown in the perspective are doweled onto the legs after 
the latter have been fastened in place. At the top and bottom strips of 



CEDAR CHEST DESIGNS 



45 




Fig. 32 



DETAILvS OF DE6IGN NO. Q 



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CEDAR CHEST DESIGNS 



47 




Fig. 35 



small moulding may be cnt by hand, or special mill orders will secure it 
from the dealers. The panels are made of similar mouldings but these may 
be omitted if desired. The top shows a raised panel. There are two 
methods used to secure this effect. In the most simple, the f" top is built 
up and another, thinner piece, glued over it. If the shop has a veneer 
press, this method is very easy. Of course there is excessive weight when 
this construction is used. The alternate method is to build up a frame 
with either mortised or mitered ends, and set the f " top into this frame. 
It can be secured with nails and glue from the under side. 

DESIGN NO. 10 

Figs. 34 and 35 illustrate a chest of the William and Mary period 
style. It is built up as the others have been with plain butt joints, and 
over the corners, as with Design No. 9, the legs are fastened. These are 
turned on a wood lathe, a quarter of the pieces being cut out. They can 
be cut after the turning is finished, or before. The latter plan is the more 
simple, as a frame must be constructed to hold the legs while being sawed 
if they have been previously turned. If the section is removed before 
turning it is a good plan to make the two circular saw cuts through the 
middle of the piece without cuttng through to the ends. This will permit 
good centers to be obtained, and it may prevent excessive chipping of the 
edges. The wood can be removed when the ends are cut off on the lathe, 
or they may be carefully chiseled out. The panel effect is secured with 
small mouldings mitered at their corners. These may be omitted, if de- 
sired, without spoiling the appearance of the chest. 



CEDAB CHEST DESIGNS 



49 




Fig. 37 



DESIGN NO. 11 

This chest is of very simple design, and would not be too difficult a 
project for the average eighth-grade student. The ends are butted 
against the front and back, and fastened with fine finishing nails. Corner 
blocks are used on the inside, of course. The bottom is a mitered frame 
which is nailed to the box. The handles are worked out from small 
pieces of stock, l^'' thick. The top is built up with a mitered frame, 
securely glued and nailed. Fig. 36 is the working drawing, and Fig. 37 
presents a photograph of the finished chest. 





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73 




Fig. 61 

IJNDER-BED CHEST 

As its title indicates, the cliest design shown in Figs. 60 and 61 is 
meant to roll under the bed. It is of very simple construction, and most 
useful in small bedrooms and fiats. 




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75 



CHEST OF DRAWERS 

A chest of cedar drawers, Fig. 62, has so many advantages that little 
need be said concerning- it. Its additional room and separate compart- 
ments commend it highly. Its construction is exactly like the usual 
cabinet construction, all parts, wherever possible, being mortised and 
tenoned together. The detail of the drawer construction. Fig. 64, shows 
the fronts to extend past the sides, the edges being rounded. This gives 
the chest a most pleasing appearance and renders it dust-proof. If desired, 
the upper section, instead of having a large drawer, can have a false 
drawer front, and a bottom put in. The top can then be hinged and a 
high chest with two drawers will result. Or the top drawer may be 
divided into two smaller drawers with good effect. 



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Fig. 65, Suggestive Designs from Commercial Sources 



CEDAR CHEST DESIGNS 

SUGGESTIONS FOR DESIGN 



77 



Figs. 65 and 66 illustrate a few additional designs whose working 
drawings are not given. They may offer suggestions worth while when 
the builder is designing his own. The feet are especially suggestive. 




Fig. 66. Suggestive Designs from Commercial Sources 



CHAPTER V 

The Finishing of Cedar 

Red cedar, contrary to supposition, is not a hard wood to finish. 
Having a closed grain, it needs no filler, which greatly simplifies its 
finishing. The outside, and the inner side of the cover — to prevent 
warping — should be finished ; never the inside of the chest. 

PREPARING THE WOOD FOR FINISHING 

The cedar chest should be prepared for finishing as any other piece 
of furniture is prepared. All glue and rough spots should be carefully 
scraped and sandpapered until the surface is entirely free from defects. 
If the wood in the chest has been purchased glued up and machine sand- 
papered, it will need a final sandpapering with No. or No. 00 sandpaper. 
If worked down by hand, it will need a great deal of scraping with a sharp 
scraper, a preliminary rubbing with No. 1 sandpaper, and a final rubbing 
with No. 0, working with the grain in each case. Careful dusting prepara- 
tory to the application of the first coat of finish is very necessary. 

FILLING ROUGH SPOTS 
, As red cedar contains a great many knots, planing the wood by hand 
— and occasionally by machine — causes rough spots to occur around the 
knots. If these rough spots are shallow, they can be scraped out and 
sandpapered, but if they are deep, they must be filled. 

There are a number of methods of filling. The most simple — and. 
least satisfactory — method is to fill them with "water putty," a dry 
crack filler purchased in powder form and mixed with water. "When it 
has hardened it can be rubbed down with sandpaper and colored to match 
the surrounding wood. As this color will fade in time, this method is not 
recommended. 

A better method is to fill them with a colored wood filler. Secure a 
small can of natural paste wood filler, a little rose pink dry stain, and some 
Van Dyke brown dry stain. Thin the filler with turpentine or benzine 
and add a quantity of the Van Dyke brown, well stirred in. Compare 
this color with that of the knots around which you are going to fill and add 
the rose pink until the correct shade of red is obtained. Apply this filler 
to the knots, and when perfectly dry, sandpaper down to an even surface. 
A third method — much slower than the other two — is the application 
of successive coats of colored shellac. To the ordinary shellac, add a little 
Bismark brown dry stain until you get a color that will match, when dry, 
the wood surrounding the rough spots. Apply this and allow it to set. 
Sandpaper down and apply successive coats, rubbing down evenly after 

78 



THE FINISHING OF CEDAR 79 

each until a level surface is obtained. Repeated coats of thin shellac will 
look better and stick better than a few heavy coats. 

COLORING THE WOOD 

Some people object to the white streaks of sap wood contrasting so 
strongly with the red heart wood, while others are of the opinion that this 
contrast is one of the beauties of red cedar. The author is of the opinion 
that the white wood is not objectionable if there is not too much of it. 
Just what quantity to allow is again a matter of personal choice, so no 
hard and fast rule can be laid down. 

To color the chest prepare an aniline dye stain of red and brown. 
Cover the entire piece with a thin coat, then go over the lighter parts and 
streaks with a stronger coat. If carefully done, this should even up the 
color. 

If the maker does not mix his own stains, a red mahogany oil stain ap- 
plied in the same manner will leave the same result. Thin the first coat 
out with benzine. 

WAX FINISH 

After filling and coloring, if the latter is desired, the kind of finish 
must be selected. The most simple is the wax but it is very seldom used — 
almost never by cedar chest manufacturers. But since it is often employed 
by students and home craftsmen it will be described. 

Over the dry surface apply a coat of thin shellac, either white or 
orange. When this has thoroughly dried, rub it down lightly with No. 00 
sandpaper and apply a second coat. When this has set, repeat the rub- 
bing, being very careful not to rub through the coat, especially on the 
edges and corners. Brush on the third coat of shellac and rub it down 
with a little boiled linseed oil placed on the No. 00 sandpaper. This should 
leave a smooth, unpitted surface. 

Finally, apply a coat of prepared floor wax and allow it to stand over 
night. Rub it briskly with a dry flannel cloth, bringing it to a good polish. 
If a still higher gloss is desired, put on a second coat of wax and allow it to 
stand about thirty minutes before rubbing off. 

This finish can be renewed from time to time with fresh applications 
of wax, and has the advantage over the varnished surface of not showing 
scratches as readily. 

VARNISH FINISH 

For a varnish finish apply but two coats of shellac in the manner 
described above, and two coats of high grade rubbing varnish. 

The temperature of the room in which the varnishing is accomplished 
should be 70 degrees F. or over, and perfectly uniform. The room should 
be free from dust, and kept free after the varnish has been applied. 



80 CEDAR CHESTS 

Use an oval varnish brush, well dusted in the hand. Take up a brush 
full of the liquid as it comes from the can, and, starting from the center of 
the top, spread it out to the edges. Where it drips over, take up this sur- 
plus with the end of the brush. The sides should be varnished by working 
down from the top edge. 

The inside of the cover should be supported so that the air can cir- 
culate around it, otherwise it would be very slow in drying. 

Allow about five days for the varnish to thoroughly dry in before rub- 
bing it down. Then sprinkle powdered pumice stone over the surface, 
and rub it with a felt pad (about 4" by 5") moistened with water. Eub all 
surfaces while they are in a horizontal position if possible. Rub lightly 
and evenly with the grain, and be very sure that you do not go below the 
coat in any place — edges especially. 

Wash the pumice stone off with water and rub dry with a clean cloth 
after which the second coat is applied in the same manner. Allow this 
coat about five days in which to dry when the polishing process can be 
started. Rub it down as before with pumice stone and water, then remove 
the fine scratches left by the pumice stone by rubbing in a similar manner 
with rotten stone and water. Always rub with the grain if possible. Next, 
moisten the hand with linseed oil and sprinkle a little rotten stone in it. 
Very lightly go over the entire surface with this combination, rubbing 
w^ith the grain. When perfectly smooth, clean the surface with a very soft 
cloth saturated with clean oil, and rub dry with cotton batting. 

To finish the polish, go over the entire surface with another soft pad 
of cotton batting saturated with some good furniture polish, or a thin 
mixture of linseed oil, turpentine, and sweet oil. This should produce an 
extremely brilliant and satisfactory finish if good materials have been 
used and care exercised in their application. 

OIL FINISH 

If an oil finish is desired go over the wood, after it has been filled and 
colored, with a coat of hot linseed oil. When thoroughly dry, wipe off the 
' ' grease spots, ' ' if there are any, and give the wood a coat of shellac. This 
can be followed with a second coat of shellac, rubbed down with pumice 
stone and oil, or the varnish finish as described above can be applied over 
the second coat of shellac. 

ENAMEL FINISH 

There is a modern demand evinced for enameled and painted furni- 
ture, especially in some of the Period designs. To meet this demand. 



THE FINISHING OF CEDAR 81 

cedar chest manufacturers have recently introduced chests enameled on 
the outside, and left natural on the inside, the designs being made to cor- 
respond with various periods — Adam and William and Mary being pre- 
dominant. 

Old ivory — a soft shade of cream — is the most popular finish, es- 
pecially when decorated parts are striped Avitli orange, Avhile black enam- 
el, striped with gold, is second best. 

These finishes are applied in the conventional manner — the ivory 
enamel being under-coated with flat white. 

On school-made chests these finishes are not to be recommended. In 
the first place, the\^ are only temporary fads — pretty creations to catch 
the popular fancy that may be "old fashioned" next year. And secondly, 
there is no good reason for hiding the natural beauties of red cedar with 
enamels. Carefulh' selected wood, Avith its wonderful contrasts of sap 
and heart wood, certainly give color enough. 

LACQUER FINISH 

The wood should be prepared as directed in the preceding para- 
graphs, and after it has been well dusted, a coat of lacquer is applied. 
This is the regular cotton lacquer (banana oil), and it must not be con- 
founded with the wood lacquers now so extensively advertised. When 
dry it is sanded lightly and given a second coat, the spreading of which 
must be done quickly and- without overlapping. 

Lacquer serves not only as a protection for the wood, but it also 
acts to keep the odor of the cedar confined in the wood, and it protects 
the wood against moisture better than any of the finishing coatings. 
Over this second coat, apply a bit of thin wax, or a coat of rubbing 
varnish, as desired. 

This method of finishing cedar chests is one of the most common in 
the furniture factories, as it preserves the full beauty of the grain. 



CHAPTER VI 

Copper Trimmings 

After the finish on the chest has thoroughly dried, any copper trim- 
mings desired can be applied, providing, of course, that the appearance of 
the chest will be improved by them. If good joints have been obtained on 
the corners, copper corners will help but little, but if the joints are open, 
well-designed corners will cover up the defects without detracting from 
the appearance of the chest. As a rule, handles of cedar, well executed, 
look better than metal pulls attached to the ends of the box, but if metal 
corners are employed the pulls should also be of the same. If a lock is 
attached, it will need an escutcheon, and hinge plates on the cover go 
well where the other metal trimmings are adapted. 

Sixteen-gauge copper is the metal usually employed. Brass looks 
well, but it does not harmonize with the red cedar quite as attractively 
as copper. 

The design should be first worked out on paper, and transferred to 
the metal by using carbon paper. Care should be exercised with the de- 
signing. A poor design looks worse than no design at all — copper bands 
with straight edges certainly give a pleasing appearance, as Fig. 29 shows. 
The student will do well to co-operate with the art teacher when designing 
his trimmings. The illustrations in this chapter offer suggestions for de- 
sign, Fig.67 showing escutcheons, Fig. 68 pulls, Fig. 69 hinge plates, and 
Fig. 70 corners. Although these designs do not emphasize it, the same motif 
should be used in every case. For example, straight bands across the top 
should not be used with fancy-sawed corners. A reasonably plain hinge 
plate will not look well on a chest with very elaborate pulls and corners. 
Care should be given this designing that the different parts do not show 
incongruity. 

ESCUTCHEONS 

The escutcheon can be small and plain, or rather long and fancy. 
Fig. 67 illustrates both kinds. The design should be symmetrical about 
the vertical center line. The key hole size is dependent upon the size of 
the key furnished with the lock, and its distance from the upper edge is 
governed by the depth of the key hole in the lock. 

After the design has been carefully traced on the metal, it should be 
cut out with a fine metal saw in a jeweler's saw frame. The edges can 

82 



I16GUTCHELONS 






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COPPER TRIMMINGS 



87 




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then be filed smooth. The inside cutting is accomplished by first drilling a 
small hole, then inserting the saAv and re-fastening it in the frame. 
Holes drilled for the tacks will complete the construction. 

PULLS 

The backs of the pulls are sawed out exactly like the escutcheon, 
the handle being the most difficult part to construct. On the even wire 
design, a piece of heavy round copper can be bent to shape. It is fastened 
through a piece of thinner metal, which, in turn, is spread out after passing 
through a slot sawed in the plate, Fig. 71. Those of uneven designs, the first 




Fig. 



for example, can be sawed and filed from a piece of copper 1" thick, or, if 
the school teaches molding, a wooden pattern the shape and size of the pull 
can be made, a mold taken from it, and a copper casting made in the mold. 
A little filing and polishing will put the metal pull in excellent shape. 
Where the wire is thicker in the middle, it can be hammered out or filed 
before bending, as in Fig. 72. The boring of the nail holes in the plate will 
complete the construction. 



88 



CEDAR CHESTS 




Fig. 73 Chest Decorated with Decalcomania Transfers 



HINGE PLATES 
Hinge plates are used on the cover to give the chest a more massive 
appearance. They extend to the back edge, or are bent over it. After 
the design has been traced on the metal, they are sawed, filed, and the nail 
holes drilled as before. 

CORNERS 
Corners are made like hinge plates with the addition of a right angle 
bend in the middle. This bending is accomplished by placing the metal 
between two hardwood pieces screwed up in a vise, and driving the upper 
half over with a mallet. In some instances. Fig. 19 is an example, the 
corner does not go around the end, a flat plate covering the end grain 
being fastened on the front only. 

FINISH 

The metal trimmings should be rubbed very briskly with fine steel 
wool, and polished with water and pumice stone. They will keep this 
polish if coated with banana oil or some other good lacquer. This finish 
should be applied before the trimmings are fastened on the chest. 

NAILS 

Copper nails with various size heads can be obtained, or brass headed 
tacks copper coated can be used in their stead. The copper plating can 
be done by any plating concern, and at a very small cost. 



DECALCOIMANIA TRANSFERS 
A line of chests has recently appeared on the market with decorations 
that appear to be hand painted. Fig. 73 gives an example. This form of 



COPPER TRIMMINGS 



89 



decoration results from the using* of Decalcomania transfers, and, since it 
is very attractive and easily applied, deserves notice in this chapter. 

The transfers are applied in colors to the Decalcomania paper, in 
which condition they reach the consumer. The face of the transfer is 'sized 
with a thin coat of varnish, the paper is placed in position on the chest, 
and is then soaked ofp, very much as the small boy soaks off the old- 
fashioned transfer pictures from his hand or arm. The operation con- 
sumes but very little time and when properly done, the decoration is as 
much a part of the piece as the finish itself. 

It is applied over the final finish, or it can be put on before the last 
coat of varnish is placed. 

Many excellent designs are available, especially in marquetry and 
pearl inlay where the work has been reproduced so carefully as to chal- 
lenge detection. A chest decorated with a fine band of inlay lines of black 
and holly presents a wonderfully attractive appearance. 

Decalcomania transfers can be obtained only from the manufacturers. 
The Meyercord Company, Inc., Chicago. 




An Italian Chest of the Fifteenth Century (Made in Florence about 1475) 



CHAPTER VII 

Matting Boxes 

Fig. 74 is from a photograph of a matting box — a form of chest con- 
struction not devoid of popularity, as its neat appearance and simple 
construction make it worthy of considerable favor. 

Most matting boxes are made from wood other than cedar — cypress, 
redwood, etc. — most any stock that can be secured in wide pieces — thus 
doing away with gluing up. The pieces are simpl}^ nailed or screwed 
together, corner strips glued in, and the m_atting applied. Such simple 
construction makes this a favorable project for grammar grade students. 



"S"?c-rr'~ 





Fig. 74 



HOW TO MAKE A MATTING BOX 

California redwood is recommended, as it is light, straight-grained, 
and does not warp easilj^ Dimensions can be secured from the working 
drawings of the cedar chests given in the previous chapters. 

The flat surfaces will need little planing by hand since they will be 
entirely covered on the outside. The edges should be smoothly finished, 
especially the upper edges, and the under side of the top should be planed 
and sandpapered. 

90 



MATTING BOXES 



91 




Cut the sides and ends to the desired shape, Figs. 75 and 76 offer 
excellent suggestions, and square the ends of all four pieces. Nail or screw 
the boards together, and glue in triangular corner strips on the inside. 

Nail the bottom in through the sides and ends, making the nail holes 
in the ends about three times as wide as the nails to allow for expansion 
and contraction, and give the sides a rather loose fit for the same reason. 

Fit the top carefully and round its upper edges. If the board is not 
Hat or glued-up from narrow pieces, it may be well to glue and nail strips 
on its under side to straighten it and prevent warping, as Fig. 77 il- 
lustrates. 

Shellac over the outside and inside of all pieces with at least two coats 
of shellac, sandpapering the second on the inside. This is also done to 
prevent warping. 




Fig. 7 



92 



CEDAR CHESTS 




Fig. 77 

PUTTING ON THE MATTING 

The natural colored floor. matting without decoration of any kind is 
to be preferred. Trim off its thick edges, and cut the pieces carefully to 
fit the surfaces, planning on the seams coming where they will be covered 
with the strips of cane. 

Allow these pieces to soak in warm water for two or three hours, then 
tack them to their respective surfaces. Use ordinary carpet tacks with 
large heads, or matting staples. Stretch the matting very tight over the 
surface as the tacking proceeds/ and when the water dries out a perfect fit 
will be assured. 

COVERING THE SEAMS AND EDGES 
Split bamboo makes the best covering for the seams and edges, as it 
blends so well with the matting. Small fish-poles may be secured, soaked 
in hot water, and carefully split with a sharp knife on a diameter, as each 
section should be semi-circular. Split bamboo porch screens, at one time 
so popular, can be taken apart and used, or strips may be purchased from 
a manufacturer of split bamboo fish-poles through some sporting goods 
dealer. 

Cut the strips the exact lengths desired, being very careful to make 
good joints, drill small holes where the nails will come, and fasten with 
round-head brads or brass escutcheon pins. Curves that require much 
bending can be soaked in hot water until pliable before placing. 



MATTING BOXES 



93 



If a little decoration is desired on the bamboo, hold it over a flame at 
intervals, scorching the surface brown. Dust this off and shellac the 
strips before attaching them. 

If it is impossible to secure bamboo of any kind, small strips of any 
wood stained or white enameled will serve very well. 

Place the hinges and chain, and the box is complete. 

MAKING THE BOX MOTH-PROOF 

If a cedar chest has been constructed and poorly finished, a covering 
of matting will greatly improve its appearance, and without imparing its 
moth-proof qualities if it is not finished on the inside. 

If an ordinary matting box has been made, it can be rendered moth- 
proof by putting in a bottom of red cedar, or covering the bottom with 
cedar shavings, also mixing shavings in w^ith the contents of the box when 
storino- them. 




A chest used at the end of the Fourteenth Century 



INDEX 



Pago 

Characteristics of Red Cedar 14 

Chest Design No. 2 31 

Cliest Design No. 3 33 

Chest Design No. 4 35 

Chest Design No. 5 37 

Chest Design No. 6 39 

Chest Design No. 7 41 

Chest Design No. 8 43 

Chest Design No. 9 43 

Chest Design No. 10 47 

Chest Design No. 11 49 

Chest Design No. 12 51 

Chest Design No. 13 53 

Chest Design No. 14 55 

Chest Design No. 15 57 

Chest Design No. 16 59 

Chest Design No. 17 61 

Chest Design No. IS 63 

Chest Design No. 19 65 

Chest Design No. 20 67 

Chest Design No. 21 69 

Chest Design No. 22 71 

Chest of Drawers 75 

Coloring the Wood 79 

Copper Corners 88 

Copper Nails 88 

Copper Pulls 87 

Copper Trimmings 82 

Corner Strips 27 

Cover 29 

Decalcomania Transfers 88 

Depletion of the Cedar Supply 11 

Doweling 22 

Enamel Finish 80 

Escutcheons 82 

Feet 27 

Filling Rough Spots 78 

Finishing i 29 

Finishing Cedar 78 

Finishing Copper 88 

Gluing 23 

95 



Page 

Handles 27 

Hinge Plates 88 

Hinging 29 

Jointing 21 

Jointing and Gluing 20 

Joints Used in Chest Construction ... 26 

Lacquer Finish 81 

Log Houses of Cedar 9 

Making the Box Moth Proof 93 

Making the Chest Dust Proof 28 

Matting Boxes 90 

Mill Bill 17 

New England Chest 15 

Oil Finish 80 

Old Italian Chests 15 

Placing Bamboo 92 

Placing Matting 92 

Preparing Wood for Finishing 7S 

Present Day Development 16 

Red Cedar 9 

Sawing Up Stock 20 

Sides and Ends 19 

Simple Chest Design 17 

Squaring \Jj) 25 

Suggestive Designs 77 

Surfacing 24 

Top and Bottom 20 

Under Bed Chest Design 73 

Varnish Finish 56 

Wax Finish. 79 

Where Cedar Abounds 9 

AVilliam and Mary Design 47 



NOV 



192^ 



